(Greek passage)
Anthologia Palatina: v. 72.
This, this is life, when pleasure drives out care.
Short is the span of time we each may share.
To-day we live: none know the coming morn.
Lord Curryfin's assiduities to Miss Gryll had discomposed Mr. Falconer more than he chose to confess to himself. Lord Curryfin, on entering the drawing-rooms, went up immediately to the young lady of the house; and Mr. Falconer, to the amazement2 of the reverend doctor, sat down in the outer drawing-room on a sofa by the side of Miss Ilex, with whom he entered into conversation.
In the inner drawing-room some of the young ladies were engaged with music, and were entreated4 to continue their performance. Some of them were conversing5, or looking over new publications.
After a brilliant symphony, performed by one of the young visitors, in which runs and crossings of demisemiquavers in tempo6 prestissimo occupied the principal share, Mr. Falconer asked Miss Ilex how she liked it.
Miss Ilex. I admire it as a splendid piece of legerdemain7; but it expresses nothing.
Mr. Falconer. It is well to know that such things can be done; and when we have reached the extreme complications of art, we may hope to return to Nature and simplicity8.
Miss Ilex. Not that it is impossible to reconcile execution and expression. Rubini identified the redundancies of ornament9 with the overflowings of feeling, and the music of Donizetti furnished him most happily with the means of developing this power. I never felt so transported out of myself as when I heard him sing Tu che al ciel spiegasti l' ali.
Mr. Falconer. Do you place Donizetti above Mozart?
Miss Ilex. Oh, surely not. But for supplying expressive10 music to a singer like Rubini, I think Donizetti has no equal; at any rate no superior. For music that does not require, and does not even suit, such a singer, but which requires only to be correctly interpreted to be universally recognised as the absolute perfection of melody, harmony, and expression, I think Mozart has none. Beethoven perhaps: he composed only one opera, Fidelio; but what an opera that is! What an effect in the sudden change of the key, when Leonora throws herself between her husband and Pizarro: and again, in the change of the key with the change of the scene, when we pass from the prison to the hall of the palace! What pathos11 in the songs of affection, what grandeur12 in the songs of triumph, what wonderful combinations in the accompaniments, where a perpetual stream of counter-melody creeps along in the bass13, yet in perfect harmony with the melody above!
Mr. Falconer. What say you to Haydn?
Miss Ilex. Haydn has not written operas, and my principal experience is derived14 from the Italian theatre. But his music is essentially15 dramatic. It is a full stream of perfect harmony in subjection to exquisite16 melody; and in simple ballad17-strains, that go direct to the heart, he is almost supreme18 and alone. Think of that air with which every one is familiar, 'My mother bids me bind19 my hair': the graceful20 flow of the first part, the touching22 effect of the semitones in the second: with true intonation23 and true expression, the less such an air is accompanied the better.
Mr. Falconer. There is a beauty and an appeal to the heart in ballads24 which will never lose its effect except on those with whom the pretence25 of fashion overpowers the feeling of Nature.{1}
1 Braham said something like this to a Parliamentary
Committee on Theatres, in 1832.
Miss Ilex. It is strange, however, what influence that pretence has, in overpowering all natural feelings, not in music alone.
'Is it not curious,' thought the doctor, 'that there is only one old woman in the room, and that my young friend should have selected her for the object of his especial attention?'
But a few simple notes struck on the ear of his young friend, who rose from the sofa and approached the singer. The doctor took his place to cut off his retreat.
Miss Gryll, who, though a proficient26 in all music, was particularly partial to ballads, had just begun to sing one.
THE DAPPLED PALFREY{1}
1 Founded on Le Vair Palefroi: among the Fabliaux published
by Barbazan.
'My traitorous27 uncle has wooed for himself:
My steed, for whose equal the world they might search,
In mockery they borrow to bear her to church.
'Oh! there is one path through the forest so green,
Where thou and I only, my palfrey, have been:
'Thou know'st not my words, but thy instinct is good:
By the road to the church lies the path through the wood:
Thy instinct is good, and her love is as true:
They feasted full late and full early they rose,
And pierced the green path, which he bounded along.
In vain was pursuit, though some followed pell-mell:
And missed not the bride till they reached the church door.
The drawbridge was down, the portcullis was raised:
And true to his hope came the palfrey amain,
The drawbridge went up: the portcullis went down;
The chaplain was ready with bell, book, and gown:
The bride showed the ring, and they muttered 'Too late!'
So spake the young knight, and the old ones complied;
Mr. Falconer had listened to the ballad with evident pleasure. He turned to resume his place on the sofa, but finding it preoccupied43 by the doctor, he put on a look of disappointment, which seemed to the doctor exceedingly comic.
'Surely,' thought the doctor, 'he is not in love with the old maid.'
Miss Gryll gave up her place to a young lady, who in her turn sang a ballad of a different character.
LOVE AND AGE
When I was six and you were four;
When garlands weaving, flower-balls throwing,
Were pleasures soon to please no more.
With little playmates, to and fro,
We wandered hand in hand together;
But that was sixty years ago.
And still our early love was strong;
And I did love you very dearly,
How dearly words want power to show;
I thought your heart was touched as nearly;
But that was fifty years ago.
Then other lovers came around you,
Your beauty grew from year to year.
And many a splendid circle, found you
The centre of its glittering sphere.
Oh, then I thought my heart was breaking,—
But that was forty years ago.
No cause she gave me to repine;
And when I heard you were a mother,
I did not wish the children mine.
My own young flock, in fair progression
Made up a pleasant Christmas row:
My joy in them was past expression,—
But that was thirty years ago.
You dwelt in fashion's brightest blaze;
But I too had my festal days.
Around the hearthstone's wintry glow,
Than when my youngest child was christened,—
But that was twenty years ago.
And I am now a grandsire gray;
One pet of four years old I've carried
Among the wild-flowered meads to play.
In our old fields of childish pleasure,
Where now, as then, the cowslips blow,
She fills her basket's ample measure,—
And that is not ten years ago.
But though first love's impassioned blindness
Has passed away in colder light,
I still have thought of you with kindness,
And shall do, till our last good-night.
The ever-rolling silent hours
Will bring a time we shall not know,
Will be an hundred years ago.
Miss Ilex. That is a melancholy58 song. But of how many first loves is it the true tale! And how many are far less happy!
The Rev3. Dr. Opimian. It is simple, and well sung, with a distinctness of articulation59 not often heard.
Miss Ilex. That young lady's voice is a perfect contralto. It is singularly beautiful, and I applaud her for keeping within her natural compass, and not destroying her voice by forcing it upwards60, as too many do.
The Rev. Dr. Opimian. Forcing, forcing seems to be the rule of life. A young lady who forces her voice into altissimo, and a young gentleman who forces his mind into a receptacle for a chaos61 of crudities, are pretty much on a par21. Both do ill, where, if they were contented62 with attainments63 within the limits of natural taste and natural capacity, they might both do well. As to the poor young men, many of them become mere64 crammed65 fowls66, with the same result as Hermogenes, who, after astonishing the world with his attainments at seventeen, came to a sudden end at the age of twenty-five, and spent the rest of a long life in hopeless imbecility.
Miss Ilex. The poor young men can scarcely help themselves. They are not held qualified67 for a profession unless they have overloaded68 their understanding with things of no use in it; incongruous things too, which could never be combined into the pursuits of natural taste.
The Rev. Dr. Opimian. Very true. Brindley would not have passed as a canal-maker, nor Edward Williams{1} as a bridge-builder. I saw the other day some examination papers which would have infallibly excluded Marlborough from the army and Nelson from the navy. I doubt if Haydn would have passed as a composer before a committee of lords like one of his pupils, who insisted on demonstrating to him that he was continually sinning against the rules of counterpoint; on which Haydn said to him, 'I thought I was to teach you, but it seems you are to teach me, and I do not want a preceptor,' and thereon he wished his lordship a good-morning. Fancy Watt70 being asked how much Joan of Naples got for Avignon when she sold it to Pope Clement71 the Sixth, and being held unfit for an engineer because he could not tell.
1 The builder of Pont-y-Pryd.
Miss Ilex. That is an odd question, doctor. But how much did she get for it?
The Rev. Dr. Opimian. Nothing. He promised ninety thousand golden florins, but he did not pay one of them: and that, I suppose, is the profound sense of the question. It is true he paid her after a fashion, in his own peculiar72 coin. He absolved73 her of the murder of her first husband, and perhaps he thought that was worth the money. But how many of our legislators could answer the question? Is it not strange that candidates for seats in Parliament should not be subjected to competitive examination? Plato and Persius{1} would furnish good hints for it. I should like to see honourable74 gentlemen having to answer such questions as are deemed necessary tests for government clerks, before they would be held qualified candidates for seats in the legislature. That would be something like a reform in the Parliament. Oh that it were so, and I were the examiner! Ha, ha, ha, what a comedy!
1 Plato: Alcibiades, i.; Persius: Sat. iv.
The doctor's hearty75 laugh was contagious76, and Miss Ilex joined in it. Mr. MacBorrowdale came up.
__Mr. MacBorrowdale.__ You are as merry as if you had discovered the object of Jack77 of Dover's quest:
The Rev. Dr. Opimian. Something very like it. We have an honourable gentleman under competitive examination for a degree in legislative78 wisdom.
The Rev. Dr. Opimian. Competitive examination for clerks, and none for legislators, is not this an anomaly? Ask the honourable member for Muckborough on what acquisitions in history and mental and moral philosophy he founds his claim of competence80 to make laws for the nation. He can only tell you that he has been chosen as the most conspicuous81 Grub among the Moneygrubs of his borough69 to be the representative of all that is sordid82, selfish, hard-hearted, unintellectual, and antipatriotic, which are the distinguishing qualities of the majority among them. Ask a candidate for a clerkship what are his qualifications? He may answer, 'All that are requisite83: reading, writing, and arithmetic.' 'Nonsense,' says the questioner. 'Do you know the number of miles in direct distance from Timbuctoo to the top of Chimborazo?' 'I do not,' says the candidate. 'Then you will not do for a clerk,' says the competitive examiner. Does Moneygrub of Muckborough know? He does not; nor anything else. The clerk may be able to answer some of the questions put to him. Moneygrub could not answer one of them. But he is very fit for a legislator.
Mr. MacBorrowdale. Eh! but he is subjected to a pretty severe competitive examination of his own, by what they call a constituency, who just put him to the test in the art of conjuring84, to see if he can shift money from his own pocket into theirs, without any inconvenient85 third party being aware of the transfer.
点击收听单词发音
1 adorn | |
vt.使美化,装饰 | |
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2 amazement | |
n.惊奇,惊讶 | |
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3 rev | |
v.发动机旋转,加快速度 | |
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4 entreated | |
恳求,乞求( entreat的过去式和过去分词 ) | |
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5 conversing | |
v.交谈,谈话( converse的现在分词 ) | |
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6 tempo | |
n.(音乐的)速度;节奏,行进速度 | |
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7 legerdemain | |
n.戏法,诈术 | |
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8 simplicity | |
n.简单,简易;朴素;直率,单纯 | |
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9 ornament | |
v.装饰,美化;n.装饰,装饰物 | |
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10 expressive | |
adj.表现的,表达…的,富于表情的 | |
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11 pathos | |
n.哀婉,悲怆 | |
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12 grandeur | |
n.伟大,崇高,宏伟,庄严,豪华 | |
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13 bass | |
n.男低音(歌手);低音乐器;低音大提琴 | |
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14 derived | |
vi.起源;由来;衍生;导出v.得到( derive的过去式和过去分词 );(从…中)得到获得;源于;(从…中)提取 | |
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15 essentially | |
adv.本质上,实质上,基本上 | |
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16 exquisite | |
adj.精美的;敏锐的;剧烈的,感觉强烈的 | |
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17 ballad | |
n.歌谣,民谣,流行爱情歌曲 | |
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18 supreme | |
adj.极度的,最重要的;至高的,最高的 | |
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19 bind | |
vt.捆,包扎;装订;约束;使凝固;vi.变硬 | |
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20 graceful | |
adj.优美的,优雅的;得体的 | |
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21 par | |
n.标准,票面价值,平均数量;adj.票面的,平常的,标准的 | |
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22 touching | |
adj.动人的,使人感伤的 | |
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23 intonation | |
n.语调,声调;发声 | |
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24 ballads | |
民歌,民谣,特别指叙述故事的歌( ballad的名词复数 ); 讴 | |
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25 pretence | |
n.假装,作假;借口,口实;虚伪;虚饰 | |
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26 proficient | |
adj.熟练的,精通的;n.能手,专家 | |
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27 traitorous | |
adj. 叛国的, 不忠的, 背信弃义的 | |
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28 pelf | |
n.金钱;财物(轻蔑语) | |
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29 bower | |
n.凉亭,树荫下凉快之处;闺房;v.荫蔽 | |
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30 rift | |
n.裂口,隙缝,切口;v.裂开,割开,渗入 | |
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31 wilt | |
v.(使)植物凋谢或枯萎;(指人)疲倦,衰弱 | |
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32 doze | |
v.打瞌睡;n.打盹,假寐 | |
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33 throng | |
n.人群,群众;v.拥挤,群集 | |
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34 wed | |
v.娶,嫁,与…结婚 | |
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35 thicket | |
n.灌木丛,树林 | |
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36 dozed | |
v.打盹儿,打瞌睡( doze的过去式和过去分词 ) | |
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37 knight | |
n.骑士,武士;爵士 | |
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38 rein | |
n.疆绳,统治,支配;vt.以僵绳控制,统治 | |
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39 wreck | |
n.失事,遇难;沉船;vt.(船等)失事,遇难 | |
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40 fray | |
v.争吵;打斗;磨损,磨破;n.吵架;打斗 | |
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41 undone | |
a.未做完的,未完成的 | |
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42 quaffed | |
v.痛饮( quaff的过去式和过去分词 );畅饮;大口大口将…喝干;一饮而尽 | |
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43 preoccupied | |
adj.全神贯注的,入神的;被抢先占有的;心事重重的v.占据(某人)思想,使对…全神贯注,使专心于( preoccupy的过去式) | |
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44 mid | |
adj.中央的,中间的 | |
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45 groves | |
树丛,小树林( grove的名词复数 ) | |
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46 maiden | |
n.少女,处女;adj.未婚的,纯洁的,无经验的 | |
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47 laden | |
adj.装满了的;充满了的;负了重担的;苦恼的 | |
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48 glided | |
v.滑动( glide的过去式和过去分词 );掠过;(鸟或飞机 ) 滑翔 | |
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49 joyously | |
ad.快乐地, 高兴地 | |
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50 vows | |
誓言( vow的名词复数 ); 郑重宣布,许愿 | |
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51 forsaking | |
放弃( forsake的现在分词 ); 弃绝; 抛弃; 摒弃 | |
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52 bestow | |
v.把…赠与,把…授予;花费 | |
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53 comely | |
adj.漂亮的,合宜的 | |
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54 homely | |
adj.家常的,简朴的;不漂亮的 | |
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55 glistened | |
v.湿物闪耀,闪亮( glisten的过去式和过去分词 ) | |
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56 eldest | |
adj.最年长的,最年老的 | |
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57 gathering | |
n.集会,聚会,聚集 | |
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58 melancholy | |
n.忧郁,愁思;adj.令人感伤(沮丧)的,忧郁的 | |
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59 articulation | |
n.(清楚的)发音;清晰度,咬合 | |
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60 upwards | |
adv.向上,在更高处...以上 | |
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61 chaos | |
n.混乱,无秩序 | |
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62 contented | |
adj.满意的,安心的,知足的 | |
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63 attainments | |
成就,造诣; 获得( attainment的名词复数 ); 达到; 造诣; 成就 | |
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64 mere | |
adj.纯粹的;仅仅,只不过 | |
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65 crammed | |
adj.塞满的,挤满的;大口地吃;快速贪婪地吃v.把…塞满;填入;临时抱佛脚( cram的过去式) | |
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66 fowls | |
鸟( fowl的名词复数 ); 禽肉; 既不是这; 非驴非马 | |
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67 qualified | |
adj.合格的,有资格的,胜任的,有限制的 | |
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68 overloaded | |
a.超载的,超负荷的 | |
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69 borough | |
n.享有自治权的市镇;(英)自治市镇 | |
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70 watt | |
n.瓦,瓦特 | |
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71 clement | |
adj.仁慈的;温和的 | |
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72 peculiar | |
adj.古怪的,异常的;特殊的,特有的 | |
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73 absolved | |
宣告…无罪,赦免…的罪行,宽恕…的罪行( absolve的过去式和过去分词 ); 不受责难,免除责任 [义务] ,开脱(罪责) | |
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74 honourable | |
adj.可敬的;荣誉的,光荣的 | |
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75 hearty | |
adj.热情友好的;衷心的;尽情的,纵情的 | |
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76 contagious | |
adj.传染性的,有感染力的 | |
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77 jack | |
n.插座,千斤顶,男人;v.抬起,提醒,扛举;n.(Jake)杰克 | |
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78 legislative | |
n.立法机构,立法权;adj.立法的,有立法权的 | |
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79 bent | |
n.爱好,癖好;adj.弯的;决心的,一心的 | |
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80 competence | |
n.能力,胜任,称职 | |
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81 conspicuous | |
adj.明眼的,惹人注目的;炫耀的,摆阔气的 | |
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82 sordid | |
adj.肮脏的,不干净的,卑鄙的,暗淡的 | |
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83 requisite | |
adj.需要的,必不可少的;n.必需品 | |
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84 conjuring | |
n.魔术 | |
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85 inconvenient | |
adj.不方便的,令人感到麻烦的 | |
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